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Secesja I Modernizm W Rydze. Pół Wieku Architektury Łotewskiej – Perłą Europejskiego Dziedzictwa Kulturowego. Część II

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Secesja I Modernizm W Rydze. Pół Wieku Architektury Łotewskiej – Perłą Europejskiego Dziedzictwa Kulturowego. Część II RENĀTE ČAUPALE∗, ZDZISŁAWA TOŁŁOCZKO∗∗ SECESJA I MODERNIZM W RYDZE. PÓŁ WIEKU ARCHITEKTURY ŁOTEWSKIEJ – PERŁĄ EUROPEJSKIEGO DZIEDZICTWA KULTUROWEGO CZĘŚĆ II. NIEPODLEGŁOŚĆ I NOWOCZESNOŚĆ. GLOSSARIUM DO PROBLEMÓW TRADYCJI I AWANGARDY W DWUDZIESTOLECIU MIĘDZYWOJENNYM SECESSION AND MODERNISM IN RIGA. HALF OF THE CENTURY OF LATVIAN ARCHITECTURE – THE JEWEL OF EUROPEAN CULTURAL HERITAGE PART II: INDEPENDENCE AND MODERNITY. GLOSSARY OF TRADITION AND AVANT-GARDE ISSUES IN THE INTER-WAR PERIOD Streszczenie W niniejszym artykule, autorki podjęły się próby prześledzenia rozwoju architektury nowoczesnej w Rydze na przestrzeni lat od 1918 do 1940. Fundamentem rozważań jest zbieg, powstania i rozkwitu niepodległej Republiki Łotewskiej i rozwinięcie się ruchu nowoczesnego w architekturze tego kraju. Ruch ten był zara- zem kontynuacją modernizmu łotewskiego przed 1914 rokiem, a jednocześnie wykazywał ambicje dorów- nania do osiągnięć reprezentowanych przez najwybitniejsze nurty architektury zachodnioeuropejskiej. Przeto w budownictwie stolicy Republiki zamanifestowały się trzy wiodące w architekturze międzywojennej, centralnej Europy zwłaszcza, tendencje rozwojowe. Są to tradycjonalizm i neoklasycyzm oraz umiarkowana awangarda. Nie bez znaczenia dla twórczości ryskich architektów było przywiązanie do wartości wernakularnych, a także, co może najważniejsze, poszanowanie zabytkowego kontekstu średniowiecznej jeszcze tkanki historycznej, co dało w rezultacie, godne pozazdroszczenia, znakomite rezultaty. Słowa kluczowe: Łotwa, Ryga, historia, historia architektury, tradycjonalizm, modernizm Abstract In the article the authors have made an attempt to make a thorough study of the development of modern architecture in Riga over the period 1918–1940. What was of fundamental significance was that the rise of independent Republic of Latvia and its flourishing prosperity coincided with the development of modern trend in the architecture of the country. The movement combined continuation of the Latvian modernism prior to 1914 with an ambition to match the achievements represented by the most outstanding trends in the architecture of Western Europe. In the building style of the Republic’s capital three development trends leading in the interwar architecture of the central Europe in particular were manifested. These include traditionalism and neo-classicism as well as moderate avant-garde. What was also of significance for the Riga architects was their affection for the vernacular and, which is probably most important, their respect for the historical context of still medieval tissue, which resulted in impressive, enviable effects. Keywords: Latvia, Riga, history, history of architecture, traditionalism, modernism ∗ Mgr Renāte Čaupale, doktorantka w Łotewskiej Akademii Sztuki, Ryga, Prezes Stowarzyszenia Polskich Artystów na Łotwie. ∗∗ Dr hab. Zdzisława Tołłoczko, prof. PK, Instytut Historii Architektury i Konserwacji Zabytków, Wydział Architektury, Politechnika Krakowska. 42 Łotewskie i polskie, uwzględniając toutes proportions gardées, drogi do suwerenności i narodowego albo państwowego odrodzenia były trudne, zawiłe, a nierzadko bolesne. Wprawdzie już 18 listopada 1918 r. proklamowano powstanie państwa łotewskiego, jed- nakże, upraszczając ten fragment łotewskiej historii najnowszej, przeciw woli narodu sta- nęły dwie potężne siły. Z jednej strony, z suwerennością etnicznych Łotyszów nie mogły się pogodzić arystokracja i szlachta bałtyckich Niemców (tzw. baronowie) wspierane przez armię niemiecką, a później Freikorpsy zrzeszające weteranów I wojny światowej, dowo- dzone przez gen. Rüdigera hr. von der Goltza, z drugiej zaś – bolszewicka Rosja kontynu- owała, pod płaszczykiem internacjonalizmu proletariackiego, dawną politykę imperialną caratu. Głównym eksponentem sowieckiego komunizmu był Piotr I. Stučka, którego wspie- rały oddziały ,,czerwonych strzelców łotewskich”, zrewoltowanych żołnierzy pochodzą- cych z dawnych łotewskich pułków armii carskiej. Ostatecznie przewagę uzyskały oddziały von der Goltza, zwłaszcza w obliczu zwycięstwa Wojska Polskiego w sierpniu 1920 r. nad armią bolszewicką. Bitwa warszawska rozstrzygnęła o wolności nie tylko Polski, ale i kra- jów nadbałtyckich, a kto wie, czy nie całej Europy. W pogoni za uciekającymi w popłochu krasnoarmiejcami generał (później marszałek Polski) Edward Śmigły-Rydz dotarł i zdobył w 1920 r. Dyneburg (obecnie Daugavpils), dawną stolicę Inflant polskich. Miasto i okolice zamieszkiwała liczna ludność polska, jednak z rozkazu Józefa Piłsudskiego, naczelnika państwa i wodza naczelnego, gen. E. Śmigły-Rydz niezwłocznie przekazał miasto w ręce łotewskiej administracji państwowej. Na jej czele stał już wówczas (ponownie) Kārlis Ulmanis, charyzmatyczny przywódca chłopski, przypominający trochę Wincentego Witosa. Ale to właśnie K. Ulmanisowi udało się już na początku istnienia Republiki Łotewskiej zrealizować projekt reformy rolnej i wywłaszczyć wielkich obszarników rolnych, przede wszystkim niemieckich. Tym genialnym posunięciem zneutralizował konserwatywne wpływy niemieckie, a zarazem ,,postępową” infiltrację sowiecką. Kārlis Ulmanis, najpierw jako premier, a później prezydent, należał do grona wybitnych polityków środkowoeuro- pejskich (do których zaliczyć można takie osobowości, jak: J. Piłsudski, marszałek C.G. Mannerheim w Finlandii, gen. J. Laidoner i prezydent K. Päts w Estonii, prezydent A. Smetona, premier A. Voldemaras na Litwie, prezydent T.G. Masaryk i E. Benesz w Czechosłowacji). Z ich nazwiskami łączyło się w ich ojczyznach poczucie narodowej jedności, trwałości i niezależności państwa. Upadły pod zjednoczonymi siłami czerwonego i brunatnego totalitaryzmu1. Casus dyneburski sprawił, że stosunki polityczne i gospodarcze na linii Warszawa– –Ryga układały się doskonale, co jednak w Europie Środkowej w latach międzywojennych należało raczej do rzadkości, mimo że minister spraw zagranicznych Józef Beck próbował stworzyć wspólny front krajów od Bałtyku po Adriatyk, które były najbardziej narażone na agresję. Krótkowzroczność i brak solidarności to przyczyny katastrofy lat 1939–1940, trwającej aż do początków lat 90. XX stulecia. Wzorcowe wręcz polsko-łotewskie relacje międzynarodowe dawały asumpt do znaczą- cej wymiany kulturalnej pod auspicjami władz państwowych, jak i stowarzyszeń artystycz- nych. Na ten temat pisze m.in. Dace Lamberga: ,,Już w roku 1924 w Rydze odbyła się wystawa grafiki, na której zostały pokazane prace Józefa Mehoffera, Władysława Skoczylasa i Leona Wyczółkowskiego. Jedną z najaktywniejszych grup, nawiązującą kon- takty międzynarodowe, była «Ryska grupa artystów» (powstała w roku 1920). W roku 1924 grupa zorganizowała wspólną wystawę z polską grupą «Blok». Wystawa odbyła się w Muzeum Sztuki Miasta Rygi. Idea wystawy została poddana przez rzeźbiarkę Katarzynę 43 Kobro i jej małżonka, malarza Władysława Strzemińskiego. Interesujący może być fakt, że w roku 1922 Strzemiński wraz z łotewskimi artystami pozostającymi w Rosji – Aleksan- drem Drēviņšem, Kārlisem Johansonem i Gustavem Klucisem, oraz mieszkającym wów- czas w Berlinie Kārlisem Zāle – wszyscy brali udział w Pierwszej Wystawie Sztuki Rosyj- skiej w Berlinie. Łotwa dla Kobro i Strzemińskiego była nie tylko krajem obcym. Aby K. Kobro mogła uzyskać obywatelstwo polskie, w Rydze w lipcu 1925 r. w kościele kato- lickim zostało zawarte małżeństwo obojga artystów. Pierwsze kontakty artystyczne miały dalszy ciąg. W roku 1925 Romans Suta, Aleksan- dra Belcova oraz Erasts Šveics wzięli udział w wystawie L’Art d’Aujourd’hui w Paryżu. Ta wystawa była zorganizowana przez artystę Wiktora Janage Poznańskiego, ucznia Gleizesa. Był to jeden z pierwszych pokazów sztuki abstrakcyjnej we Francji. Wymiana wystaw między Polską i Łotwą na poziomie państwowym odbyła się także w latach 30. W roku 1934, w Muzeum Sztuki Miasta Rygi, przy pomocy Towarzystwa Pol- sko-Łotewskiego odbyła się wystawa polskiej sztuki współczesnej. Wystawę odwiedził prezydent Łotwy i korpus dyplomatyczny. Z Polski przybył Tadeusz Pruszkowski, rektor Warszawskiej Akademii Sztuk Pięknych oraz Władysław Jarocki, rektor Krakowskiej Aka- demii Sztuk Pięknych. We wstępie do katalogu wystawy historyk sztuki Mieczysław Treter dał krótki przegląd nie tylko osiągnięć sztuki współczesnej z lat 20–50, ale całej historii sztuki polskiej, zwracając szczególną uwagę na twórczość Olgi Boznańskiej, Bolesława Cybisa, Tadeusza Makowskiego, Xawerego Dunikowskiego. Muzeum Sztuki Miasta Rygi zakupiło prace Kazimierza Sichulskiego, a Muzeum Narodowe – obrazy Tadeusza Prusz- kowskiego i Pawła Dadleza (dziś w zbiorach Muzeum Sztuki Zagranicznej w Rydze). Także Łotwa miała wystawę w Polsce – w Warszawie i w Krakowie w roku 1936. Komisarzem wystawy został Vilhelms Purvītis, profesor Łotewskiej Akademii Sztuk Pięknych, dyrektor Muzeum Sztuki Miasta Rygi. Na otwarciu tej wystawy był obecny Prezydent Polski Ignacy Mościcki, minister spraw zagranicznych Józef Beck oraz rektor Warszawskiej Akademii Sztuk Pięknych Tadeusz Pruszkowski. Były Ambasador Polski na Łotwie Zygmunt Beczkowicz został prezydentem Towarzystwa Polska–Łotwa. W czasie trwania wystawy do Polski przybył minister spraw zagranicznych Łotwy Vilhelm Munters, który w komunikacie dla prasy podkreślił znaczenie tej wystawy. Powiedział: «Jestem bardzo szczęśliwy widząc objawy sympatii i pomocy okazywanej przez towarzystwa polskie wobec organizatorów wystawy sztuki łotewskiej. Te wyrazy sympatii stworzyły już przed moim przyjazdem do Warszawy atmosferę przyjaźni i serdeczności. Pamiętać przy tym należy, iż wymiana dóbr kulturalnych między
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